Dunkeld Music Book (GB-EdU MS64)
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Complete text
Abstract
Where to find the dissertation
Alistair Warwick received a distinction for his Masters dissertation in Music at the University of Surrey (1998) on the Dunkeld Music Book (otherwise known as the Dowglas-Fischer or Lincluden Partbooks GB-EdU MS 64); research was supervised by Dr Owen Rees.
In the Dunkeld Music Book is an anonymous motet for eight voices, Te Sanctum Dominum. As a result of his research Warwick has provisionally identified Nicholas Gombert as the composer of this work. A critical edition of the prima pars appears in the dissertation.
Complete text (in libraries and on this website)
The complete text of the dissertation is being prepared for publication on this website. It is also available for viewing at Glasgow and Surrey (see below). The Abstract from the dissertation (slightly modified) is reproduced below.
Chapter 1 – The historical and liturgical context is now online.
Abstract
One of the more important surviving manuscript sources of music from 16th-century Scotland is the Dunkeld Music Book (consisting of five of an original six partbooks) now located in Edinburgh University Library.
In addition to mass propers by continental composers for feasts of the Blessed Virgin Mary and the apostle Peter – copied from 1540s Attaingnant prints and from other contemporary sources – it contains a fragment of the Mass Jesu Christe by the English composer Thomas Ashewell (b c. 1478, d after 1513) and a number of anonymous pieces, including two mass settings (Cantate Domino and Felix namque) probably from Scotland.
This dissertation takes another look at the manuscript, placing it in its historical and liturgical context. The manuscript's description has previously been somewhat lacking in detail; a more complete picture is given here.
The wider practice of text truncation in Mass settings from the British Isles receives attention here since the settings in the partbooks contain highly unusual cuts – not only in the Credo but also in the Gloria.
The recent ascription of the Cantate Domino Mass to Robert Carver is questioned with especial regard to the four-note motive which has been suggested as showing that this Mass is linked to one by Carver. The origins of the Mass's cantus firmus is treated.
The recently-ascribed Lincluden provenance is questioned, as is that of the anonymous pieces within the manuscript.
A link is proposed concerning Robert Dowglas and the Chapel Royal.
The first parte of the anonymous Te sanctum Dominum is transcribed here and a tentative suggestion made as to its authorship.
Where to read this dissertation
Until the dissertation is published on this website, complete copies (including the edition of Te sanctum Dominum) can be seen at The Scottish Music Centre and Surrey University Library.